FEELING VALLENATO
Vallenato is a musical genre native to the Caribbean Coast with its epicenter in the former province of Padilla (current south of La Guajira, Cesar north and east of Magdalena) and an important variant in the savanna region of the departments of Bolivar, Sucre, and Córdoba. Its popularity has spread now all over the country and neighboring countries such as Panama, Venezuela, Ecuador and Mexico. It traditionally plays three instruments: the diatonic accordion, the guacharaca and housing (small drum goatskin).
Both the accordion vallenato were despised by the aristocracy at the time of the Spanish colony in Colombia. Today is the pride of all kinds, because over time weregaining ground. As a term, vallenato was used in a derogatory way to call people withskin disease (CARAT). Produced by the bite of an insect which left stains. When was that distorted its meaning and was allowed to identify the accordion music, it is notclear among researchers. Among the merchants of the time appeared a musical instrument of German origin, that the barter of goods began to seep into popular culture. It was the accordion, Damien created by Kiril. Between the late nineteenthand early twentieth century, there was a select group of accordionists some predated"Francisco man," which recalls the names of Joseph Leo Carrillo, Abraham Montero, Christopher Luquez, Agustin Montero, Francisco "Chico "Luis Bolanos andPeñaranda.
This story, which is supposed to happen in the early twentieth century, sums up the episode that became, over the years, the mythological support Vallenato music, the defeat of the devil in a vibrant accordion duel at the hands Francisco Antonio Moscote War, the peasant farmer who became legend and was immortalized in the history of Vallenato Francisco under the name of the man. The detailed account of his life, the story of his exploits as an accordionist, and specifically its consecration in front of the devil, are part of a series of documented chronicles written by Angel Medina Acosta in the Spectator (April 82), in which evidence is collected reliable and eloquent about the adventures of the troubadour, the symbol of Vallenato music.It is likely that the encounter with the devil has been the result of the popular imagination, and even more so if it occurred in the territories of magical realism.Perhaps they discuss their accuracy. But the truth is that the event has served as a living legend and has reaffirmed the identity of a people with Vallenato music in its cultural heritage more valuable. So Francisco Moscote ceased to be a modest herd assistant and became a portentous accordionist whose existence was forever surrounded by an aura of fantasy and mystery. His fame spread even to the pages of literature: One Hundred Years of Solitude, Gabriel García Márquez described him as "an old man nearly 200 years globetrotters passing through Macondo often spreading the songs composed by himself and recounting in minute detail the news that occurred in the villages of their itinerary.
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